“Beware the autumn people.
For some, autumn comes early, stays late, through life, where October follows September and November touches October and then instead of December and Christ’s birth there is no Bethlehem Star, no rejoicing, but September comes again and old October and so on down the years, with no winter, spring or revivifying summer.
For these beings, fall is the only normal season, the only weather, there be no choice beyond.
Where do they come from? The dust.
Where do they go? The grave.
Does blood stir their veins? No, the night wind.
What ticks in their head? The worm.
What speaks through their mouth? The toad.
What sees from their eye? The snake.
What hears with their ear? The abyss between the stars.
They sift the human storm for souls, eat flesh of reason, fill tombs with sinners. They frenzy forth. In gusts they beetle-scurry, creep, thread, filter, motion, make all moons sullen, and surely cloud all clear-run waters. The spider-web hears them, trembles—breaks.
Such are the autumn people.”
— Ray Bradbury, Something Wicked This Way Comes (1962)e (via amber-and-ice)
“Historically, ignorance has been a form of grace for the good woman; education was denied women to keep them morally good. The elevation of a woman requires that she have this innocence, this purity, this chastity: she must not know the world, which men embody. The worship of a woman or a female religious symbol is often the unmediated worship of chastity. The virgin is the great religious symbol of female good, the female who is by nature (in her body) good, who embodies the good. The awe and honor accorded the chaste female by men are frequently pointed to to show that men do not hate or degrade women, that men worship, adore, and admire women. The morally superior nature of women is honored mostly in the abstract, and women are worshiped mostly in the abstract. The worship is worship of a symbol— a symbol manipulated to justify the uses to which fallen women are put. The morally good woman is put on a pedestal—a small, precarious, raised stage, often mined, on which she stands for as long as she can—until she falls off or jumps or it goes boom.”
